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Spotlight 33
Welcome to the Spot Light. Check out the latest psychedelic, cosmic, prog, freakbeat, folk, kraut, experimental, jazz, drone, mystical, and avant-garde sounds!
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PSYCHEDELIC/PROGRESSIVE/FOLK
Bull Run
Bull Run (black)
Ever wondered what Sabbath would sound with Lemmy singing? Then look no further! Bull Run's only ever full-album release on Peppermint is a hard acid rock piece of perfection, a rare and excellent album. The songs, created in 1971, reflect the creativity, musicianship, and artistry that defined Bull Run. Though many versions exist, these tracks represent the album Jimmy Conner, the visionary behind the band intended, but never released. Ready to move beyond pop and cover tunes, the trio dove into original, heavier material, and the Youngstown seasoned musicians immersed themselves in creating original lyrics and arrangements, forging a new sound. One that exemplified their dedication. Despite hard work and signing contracts with regional bookers and labels, mainstream success eluded them. However, their creative muse remained local in Youngstown. Bull Run hits us hard with twisted rhythms, heavy, doom-filled riffs, and a chaotic tone, evoking the feel of an undiscovered proto-metal gem from the past.
Left End
Left End (black)
Left End is back once again on Peppermint, this time with a compilation of unreleased tracks. Arguably as good as their debut album 'Spoiled Rotten.' Left End is the epitome of loud, in-your-face rock 'n' roll, blending boogie rock, glam, and early heavy metal with the grit of Youngstown's working-class attitude. Known for their divisive style, they either captivated or repelled audiences, just as they intended. Despite setbacks, including label issues and lineup changes, the band repeatedly reunited over the years, maintaining a loyal fanbase. Their story is one of resilience, consistently returning to keep their rockstar dream alive, embodying the spirit of Youngstown's tough, gritty rock scene with and remaining to hold a strong influence that also inspires new generations of musicians. Grasp the opportunity to add this magnificent album to your collection while you have the chance!
Various
Peppermint Presents..rat Race! (black)
Join Peppermint Records on a journey through the early days of Peppermint Productions, where they've uncovered 12 never-before-heard tapes from their archives for your listening pleasure and compiled them on this absolute gem packed with local talent. Since 1971, Peppermint has brought you the finest music recorded right in Youngstown, Ohio, and founder Gary Rhamy has lovingly transferred these recordings on the same equipment used back then, ensuring the original sound quality. This collection isn't definitive but offers a snapshot of their early history, showcasing unreleased tracks and the connections between them. From psych rock to polka, this album captures the vibrant music scene of Youngstown in the late '60s and '70s, highlighting the local talent that shaped their studio's legacy. Here's to the next 50 years of exciting music! Includes tracks by Glass Harp, Phil Keaggy, Blue Ash, Morly Grey, Law, Human Beinz, Iron Knowledge and more.
Blom, Venla Ilona
Nevrak
Venla Ilona Blom, the powerful vocalist and beatboxer and member of the acclaimed Finnish folk-hop vocal ensemble Tuuletar, releases her long-awaited folktronica solo debut album 'Nevrak.' The musician embarks on a journey to the green borderlands between sleeping and waking, where we can explore the fantasy land of 'Nevrak'! Blom impresses on her debut with an unusual mix of classical, folkloric, and electronic sounds. The Finnish artist draws inspiration from musicians like Enya, Kate Bush, and Eivor Pálsdóttir, yet finds her own unique voice on her solo debut. 'Nevrak' thrives on its wonderful vocal harmonies and emotionally touching string arrangements. It is unmistakable that neo-classical heavyweights such as Olafur Arnalds and Max Richter and film music guru Vangelis have influenced the album.
GARAGE/BEAT/SURF/ROCK’N’ROLL
Various
Holy Beat!
'A COLLECTION OF 60S ITALIAN CHRISTIAN BEAT FROM THE VAULTS OF ARIEL RECORDS' - Originally released as 'La Messa Dei Giovanni' in 1966 and recorded live the same year, this record has been the stuff of legend for deep cut pop connoisseurs and '60s beat archeologists, a beautiful and mesmerizing gem that goes way beyond the Christian novelty. Presenting 3 amazing Italian bands (Angel And The Brains, I Barritas and The Bumpers), this is not just a Christian pop record, this is a collection of beautifully crafted Italian '60s beat that will blow the mind of anyone remotely interested in '60s music, a must!
Royal Flares
Paisley/stay
2024 single by The Royal Flares from Munich, Germany! 'Paisley' is a catchy, organ-driven mod-dancer, with a lovely fuzz guitar riff that will creep into your ears instantly. The combined vocals of Axel Koch and Claudia Kaiser give the tune a lovely mellow twist and their pop sensibility reminds of The Zombies and Mod-era Bowie. Flip-side 'Stay' could have been easily the lead track here. Straight-forward jangle guitars lay the foundation for the melodies to rise and shine. What we have here is nothing less than two great garage psych-pop gems!
Hamper, Guy -trio- Featuring James Taylor
Dog Jaw Woman/the First Creature Is Jealousy
The Guy Hamper Trio was formed by Billy Childish, after a chat with his friend James Taylor (Hammond organ). They had played respectively in The Milkshakes and The Prisoners, often sharing the same bill in the early '80s. And indeed, Billy's blues ensemble: The Natural Born Lovers were the support act for the early shows of The James Taylor Quartet. The Guy Hamper Trio is: Billy Childish on guitar, his wife Julie on bass and Wolf on drums - who as it happens was the drummer in the original incarnation of JTQ - and of course features James Taylor on Hammond organ. The Guy Hamper Trio provide a bottom end, blues-influenced instrumental mayhem for those unafraid of dirt, germs and true grime. With no particular wish other than to be recognised as the best at playing badly, they refuse to obey the usual rules of combat and music. Their first 45 ('Polygraph Test'/'Sally Sensation') was released in 2009, followed by a full-length studio album, 'All The Poisons In The Mud,' appearing, as if by magic, in 2022, followed by five 7" singles (via Damaged Goods and Spinout Nuggets), and also a new full-length album via Hangman Records, titled 'Man In The Mouth Of A Cave.' This fully-loaded twin-spin single includes two tracks: 'Dog Jaw Woman' and 'The First Creature Is Jealousy.' Once again, after consultation with experts in the field, it was decreed that these tracks needed to be on a 7" single, for the enjoyment of the Mods, jive experts, lost revellers and those prone to frequent discotheques throughout England, the UK, Europe, the USA, Indonesia and indeed Portsmouth! Limited to 500 copies.
Norcos Y Horchata
Unkind Sometimes/don't Come Crying To Me
The #11 single in the Detroit covers series. The A-side starts off with some feedback as a rumbling bass kicks in followed shortly by some onimous tribal drumming, before the band fully begins to tell the tales of their (sometimes) unforgiving hometown of Detroit. The B-side is a cover of the first track on the Cinecyde album 'I Left My Heart In Detroit City,' which originally came out in 1982. The Norcos members, Amado, Dougie, Roman and Annie are all veterans of the Detroit scene. You can spot a couple of them concurrently playing in Macho. Previous bands include Devious Ones, Bumpin' Uglies, Bill Bondsmen, Dewtons, etc.
Todd, Pat -& The Rankoutsiders-
Down At The End Of Your Rope/little Miss Heartbreak
This is the 12th entry (and second from Pat and his gang) in the Detroit covers series. One new original and one cover of a Detroit artist. Pat is always good for putting a unique spin on a known song or digging up an obscurity to cover, but where is talent really lies is in crafting original songs. He churns out great tunes like leaves falling from the trees on a brisk Midwest October day. Pat has Midwest roots and it shows through in his writing. 'Down At The End Of Your Rope' will be another instant favorite to all the Pat Todd and Lazy Cowgirls fans. Pat and his Rankoutsiders had an interesting choice on the Detroit cover. Rankoutsider guitarist, Kevin Keller, had been reasearching his family tree and genealogy chart when he discovered he had a distant cousin who was a musician that lived in the Detroit area going back to the late '50s, one Jimmy Boyer. Jimmy Boyer & The Newports did the original version of 'Little Miss Heartbreak,' but Pat and the Rankoutsiders make it their own with a slight rockabilly flair to it.
Various
It's A Monster Bash Party, Vol. 2
'18 MORE CREEPY GROWLERS!!!' - After 11 years Now Sound Records finally Releases volume 2 and WHAT a Halloween slashin' smashin' party it will BE! 18 cool and rare tracks have been collected by wild evil 60s freak Zack Thee Maniac himself exclusively for Now Sound Records. Limited edition of 400 copies on COOL "cardinal purple" vinyl in full colour sleeve and freaky full coluor insert with info and Zack's chant!
POP/ROCK/WAVE/NOISE
Orchestre Tout Puissant Marcel Duchamp
Ventre Unique
Orchestre Tout Puissant Marcel Duchamp's 2024 album, 'Ventre Unique,' is a dynamic exploration that seamlessly blends folk, krautrock, post-punk, and African rhythms, delivering an emotionally charged yet exuberant listening experience. Helmed by Geneva-based Vincent Bertholet, the orchestra's ever-evolving lineup and distinctive sound pay homage to both African music traditions and avant-garde artist Marcel Duchamp, while pushing the boundaries of contemporary music. Recorded over ten days in the outskirts of Paris at Studio Midilive, the album features an eclectic international cast of 12 musicians. The result is a beautifully organic sound that balances Bertholet's simple, loop-based compositions with intricate arrangements of marimba, horns, strings, and angular guitars. 'Ventre Unique' is the group's sixth album and follows their acclaimed 2021 release 'We're OK But We're Lost Anyway.' While their previous work captured the disarray of the world during the pandemic, 'Ventre Unique' reflects on shared human experiences, inviting listeners to find common ground through music.
Various
No One's Listening Anyway, Vol. 1
'UK DIY POST PUNK & DUB 1980-1984' - An album of early 1980s post-punk era musical bedroom and small studio innovations and DIY inspirations. Featuring rarely/never heard cuts from that period. Including tracks sampled by DJ Shadow & a singular post-punk era diss-track :-) From Coventry's 2-Tone associated Skeet to Surface Mutants' Cabaret Voltaire facilitated dub. Compiled by Jason Boardman (Before I Die Records), celebrated Manchester club-night/record label owner, DJ and digger supreme. "This is a snapshot of a fertile time in UK music, a time of independent artists, studios, labels and distributors collaborating to do it themselves, sidestepping the majors to take their shot at the big time. It didn't always work out but they made a record and that's what counts. It is a collection of the lost and overlooked - not intended to be a definitive guide to the period but an opportunity to shine a light on the creative output of these artists and share them once again so they can get the recognition they deserve." (Jason Boardman May 2024)
Porter, Jeremy -& The Tucos-
Five-foot-three And Tiger Eyes/while You Spiral
The #10 single in the Detroit cover series. Michigan's Jeremy Porter and the Tucos take on turn of the century Detroit power poppers The Waxwings with their cover of 'While You Spiral'! On the A-side is the upbeat powerpop 'Five-Foot-Three And Tiger Eyes,' a little ditty about a girl named Nancy.
Peace De Resistance
Lullaby For The Debris
'Lullaby For The Debris' is the second album from Moses Brown of Institute's solo project Peace De Résistance. Those of us who loved Peace De Résistance's 2022 debut, 'Bits And Pieces,' will be pleased to hear that much of what made that album so memorable - the glam-infused art rock sound, the gritty yet richly textured production, and Moses's bluntly class-conscious lyrics - carries over into 'Lullaby For The Debris.' Yet 'Lullaby For The Debris' also sounds more refined, more timeless than its predecessor, with '40 Times The Rent,' 'Coddle The Rich,' and 'Ain't What It Used To Be,' all built around chooglin' Lou Reed-style riffs beamed in from the great rock and roll beyond. Elsewhere on the record, Moses's arty side shines through, with 'The Funny Man' and 'Pay Us More' full of uncanny sounds that invite the listener to bathe in their rich sonic textures. 'I Am' and 'You Are Absurd' move into a new territory Brown calls "despondent funk," their rubbery bass sounds and eerily progressive soundscapes evoking 'Station To Station'-era Bowie, while the title track closes the album on a pensive note, landing somewhere between '70s minimalist composition and the mellower moments from Eno's solo albums. The real strength of this record, though, is Brown's ever-developing songwriting skills, which meld wry social observation and Crass-style confrontational politics to melodies you'll sing along with for the rest of your life.
PUNK/HARDCORE
Sleeveens
Ufos/bernadette
The #13 single in the Detroit covers series. The Nashville/Dublin powerhouse comes through with their first single since their fantastic debut album on Dirtnap!. This double A-side has their scalding hot original 'UFOs' and their impassioned take on The Four Tops' 'Bernadette'!
INDUSTRIAL/EXPERIMENTAL/NOISE/NEOFOLK/GOTHIC
Khost
(black) Many Things Afflict Us Few Things Console Us
The 5th album from Birmingham-based industrial/doom metal band Khost sees the band forging new and at times nightmarish territories, alongside their signature walls of detuned guitar, corroded percussion and VHS atmospherics. Inspiration for many of the tracks came from countless live shows and even soundcheck experiments in which extreme, harsh electronics evolved, as did punk/early industrial tempos, all of which were then fused into the DNA of 'Many Things Afflict Us Few Things Console Us.' The LP edition features a different mix by Khost especially for vinyl.
400 Lonely Things
The New Twilight
The 2024 album from 400 Lonely Things. Tumble back into the nebulous and murky psychedelic haze of '70s-'80s VHS horror! Explore grimy palimpsests from the film studio to the grindhouse with 400 Lonely Things in 'The New Twilight': eleven creepy yet sublime analogue microdoses of vintage genre and exploitation audio sampled and filtered through the darkly ambient, melodically droning, melancholic nerd soul. CD includes a fascinating booklet of tantalizing visual clues! Adjacent genres: hauntology, dark ambient, experimental electronics, psychedelic, drone, soundtrack, plunderphonics.
Moore, Anthony
Mare's Tail
'FROM THE FILM BY DAVID LARCHER' - In 1969 both Anthony (Slapp Happy) and David were at the start of their respective careers and both were inspired by the ideas of the avant garde and the new technologies becoming available to them. David experimented with the various techniques being explored in the medium of film making and Anthony tested the limits of what could be done with tape recorders. It was an open and co-operative exploration. The results of their first collaboration was the film 'Mare's Tail' - an unusually long 2:30 hour film of non linear multi layered audio visual collage filmed in a wide variety of locations interspersed with texts coming from readings and talks, Kabalistic texts, recorded phone calls, loops, children's voices and other found material. The musical dimension is mainly supplied by various struck objects/noise/feedback/field recordings and samples. There are instruments too and we even get treated to a small section of what was to become a Slapp Happy tune. The blurry dreamscape/nightmare that slowly unfolds is laden with late '60s delirium. The original master tapes are long gone and all that remains is the audio track on existing copies of the film and various bits of the make up tapes, most of which were used (but some not), in the final cut. The low grade 16mm audio track (a degraded source to begin with), is further worn with age, subsequent duplication and repeated screenings. It all adds to the haze - a quality that David would have most likely approved. Edition of 500 numbered copies.
Cromagnon
Orgasm
Originally issued by E.S.P. in 1969 and featuring tribal percussion, distortion, industrial elements, noise, screams and bag pipes, Cromagnon's 'Orgasm' certainly rates as one of the weirdest avant-garde/experimental and psychedelic/acid albums ever made. These guys could have been the demented stepfathers of Einstürzende Neubauten or Psychic TV! Comes in deluxe DVD style silver packaging.
Mazza Vision
Ohm Spectrum
Mazza Vision's 'Ohm Spectrum' represents the first album of this new project created by two founding members of Tone Rec and Dat Politics (Pailliot - Collet), joined by occasional collaborators. Recorded during the bizarre pandemic summer of 2020, the six slow-burning tracks take drone-rock-noise as rhythm to new hazy territories by stripping down the essence of acoustic/electronic sound into dry husks and organizing them into strangely harmonic and hypnotic structures. A radical collision of instrument manipulations, heady electronics, field recordings, and heartfelt ambient soundscapes forms part of a puzzling, lo-fi dissonant movement that seems to seep out of the concrete walls.
Dieux Des Cimetieres
Sakeita Esoteerisesta Euroopasta
On their third album, Finnish Dieux Des Cimetières continue to explore the territory of the martial post-industrial underground. Achingly melancholic melodies, sweeping strings, atmospheric orchestrations, martial percussion and pulsating synths combine to create an intricate album of esoteric neoclassical and martial industrial. Influenced by authors such as Giuliano Kremmerz, Oswald Spengler, H.P. Blavatsky and Mircea Eliade, 'Säkeitä Esoteerisesta Euroopasta' (Verses On Esoteric Europa) looks at the precarious present and uncertain immediate future of Europa, seeing the signs of decay and corruption with an unflinching eye - but also the path to a new existence and a new Europa. It sees beyond the temporal a vision of Europa eternal, a tradition capable of surviving the night at the end of the cycle of ages. 'Säkeitä Esoteerisesta Euroopasta' builds upon the foundations laid by the two first albums, both expanding and deepening the concept. Lyrically, it sees Dieux Des Cimetières ascend to an entirely new, metaphysical and spiritual mode of expression. Musically, the orchestrations are more detailed, the vocals more powerful, and the compositions have a new, atmospheric depth to them. In a nutshell, this is certainly the most complex and thematically potent Dieux Des Cimetières album to date.
METAL/STONER/HARDROCK
Slower
Rage And Ruin (black)
"Bob Balch here. This second Slower record 'Rage And Ruin' consists of Amy Tung/Barryhouse (Year Of The Cobra) on vocals and bass, Esben Willems (Monolord) on drums and myself Bob Balch (Fu Manchu, Big Scenic Nowhere/Yawning Balch) on guitar. When we started this album the original intention was to cover Slayer's EP 'Haunting The Chapel' in its entirety. We started with 'Chemical Warfare' then went on to 'Haunting The Chapel' but once we got to 'Captor Of Sin' we realized that tune didn't want to be slowed down at all. So we started writing our own songs and I'm glad we did. The result is 'Rage And Ruin.' Two sides with Slayer songs in the middle bookended by Slower originals. We are super proud of this record and can't wait for you to hear it!! Mixed and mastered by the very talented Esben Willems."
Sacred Blade
Of The Sun + Moon
Keep Your Eyez To The Skiez. Unique and visionary - Sacred Blade were pioneerz of heavy metal underground in the Canadian Pacific Northwest. On vinyl for the first time since 1986, 'Of The Sun + Moon' is a critically acclaimed melodic, progressive, sci-fi power metal masterpiece. Remastered directly from the pilot'z master tapez by Brad Boatright. Deluxe large-size 12-page booklet with their detailed story, unseen photoz, art, posterz and a full-colour centrefold replacing the original gatefold. Plus, a sticker! 500 copiez.
BLUES/COUNTRY/OLDIES
Bloke, Rj
Hold Drugs Dear
'Hold Drugs Dear' is a dynamic solo effort from RJ Bloke, frontman and songwriter for Los Angeles based alt-country, Americana, roots rock quartet Patrolled By Radar. These warm and urgent analog recordings feature an array of stellar guests including Alex Moore, Spencer Livingston (Livingmore), Eli Wulfmeier (Leroy from the North), Peter Curry (Los Straitjackets, Nick Lowe), and Davey Allen (Eric Burdon, Davey & The Midnights). This collection of well crafted poetic and melodic songs is sure to appeal to fans of Dylan, Ray Davies, Jeff Tweedy, Lennon & McCartney!
JAZZ/AVANTGARDE
Lancaster, Byard
The Complete Palm Recordings 1973-1974 (5lp/7"/12")
This 5LP+7"+12" boxset includes all four original albums restored and remasterednwith 4 page portfolio and obi strip. LP1 ('Us') includes a 7". The 'Love Always' bonus track on the 'Mother Africa' CD appears here as one-sided 12" with screen print on the B-side. Also includes an exclusive 20-page booklet with rare photos and in-depth article about Byard Lancaster's Parisioan years by Pierre Crepon. At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: 'It's Not Up To Us.' The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: 'Us,' 'Mother Africa,' 'Exactement' and 'Funny Funky Rib Crib.' For info about all the albums, see the CD descriptions.
Lancaster, Byard
Us
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: 'It's Not Up To Us.' The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: 'Us,' 'Mother Africa,' 'Exactement' and 'Funny Funky Rib Crib.' 'Us,' the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender... Lancaster?) and the evergreen Steve McCall on drums. On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album's companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an "authentic representative of soul/free jazz," to sum up this is great black music!
Lancaster, Byard
Mother Africa
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: 'It's Not Up To Us.' The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: 'Us,' 'Mother Africa,' 'Exactement' and 'Funny Funky Rib Crib.' A few months after recording 'Us,' Lancaster recorded 'Mother Africa' along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings. On March 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums). Together, they create an immediate impression. From the first seconds of 'We The Blessed,' they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions. When Gilson's composition 'Mother Africa' begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking... Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims... The jazz played by the association Byard Lancaster/Clint Jackson III is rare: creative AND recreational. 'We The Blessed' is apt listening to this again today! This CD edition contains a bonus track, the magnificent 'Love Always,' that was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975. Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running! On piano, Gilson shows the subtle tact of a sideman, leaving the lions' share of the place to the horns. This allows us to hear the trumpet of Clint Jackson III and the alto (which sometimes sounds almost flute-like) of Byard Lancaster each staking their claim in a long hallucinatory march which moves from moments of direct exaltation to profoundly sensitive collective playing.
Lancaster, Byard
Exactement (2cd)
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: 'It's Not Up To Us.' The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: 'Us,' 'Mother Africa,' 'Exactement' and 'Funny Funky Rib Crib.' The recording of 'Exactement' required two sessions in the studio: February 1st and May 18th 1974 - in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent 'Mother Africa.' Two names appear on the cover of 'Exactement': Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On '"Sweet Evil Miss" Kisianga,' his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow. It is Lancaster's horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, 'Dr. Oliver W. Lancaster') or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities. Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note... ends up by playing 'exactement' the note he had to play.
Lancaster, Byard
Funny Funky Rib Crib
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: 'It's Not Up To Us.' The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: 'Us,' 'Mother Africa,' 'Exactement' and 'Funny Funky Rib Crib.' 'Funny Funky Rib Crib' is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre - notably 'New Horizons,' under the name Sounds Of Liberation which he co-led with Khan Jamal - this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)... 'Funny Funky Rib Crib's cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of 'Just Test,' 'Dogtown' or 'Rib Crib' - the two versions of which display leader Lancaster's art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, 'Work And Pray' and 'Loving Kindness' are meditative tracks where listeners can lay back and relax before asking for more: 'Funny Funky Rib Crib'!!!
Arashi With Takeo Moriyama
Tokuzo (2lp)
The trio of Japanese saxophone legend Akira Sakata with the Scandinavian rhythm section presents already its fifth album! While the trio was on a Japan tour in 2019, Sakata arranged for a handful of special collaborations, with some of Japan's most important artistic figures. Featuring the avantgarde dancer Min Tanaka, the pianist Yuji Takahashi and a heavyweight veteran of Japanese experimental music - drummer Takeo Moriyama. Moriyama was playing with Sakata in the Yosuke Yamashita Trio and is his unflinching sparring partner on the explosive 2022 Trost duo recording 'Mitochondria.' Recorded live in concert at Tokuzo, Nagoya 18th February 2019.
ELECTRONIC MUSIC/AMBIENT/D’N’B/TRIPHOP
Elffor
Dra Sad (the Trilogy) (3lp)
Discover the haunting and beautiful sounds of Elffor's 'Dra Sad' trilogy, a nearly three-hour masterpiece created by the legendary dungeon synth artist, Eöl. Hailing from the depths of the Basque Country, Eöl's music is a must-listen for any fan of the genre. The trilogy features stunning artwork by Abigor Mugerza and was initially released between 2017 and 2019. For the first time, this magnum opus is available on vinyl as a single release, allowing you to experience the full scope of Eöl's vision. Don't miss out on the chance to own this unique and captivating musical journey. Three vinyl discs, each with individually printed sleeves, packed in a custom made oversleeve with special obi. Edition of 125 copies pressed on shades of clear marbled vinyl.